Dissertation report submitted to Visvesvaraya National Institute of Technology, Nagpur in partial fulfillment of the requirements for the award of the degree
BachelorofArchitecture by ParnaveePathak (BA17ARC035)
undertheguidanceof Dr.V.V.Ghuge
Department ofArchitectureandPlanning VisvesvarayaNationalInstituteofTechnology Nagpur440010(India)
2022
Dissertation report submitted to Visvesvaraya National Institute of Technology, Nagpur in partial fulfillment of the requirements for the award of the degree
BachelorofArchitecture by ParnaveePathak (BA17ARC035)
undertheguidanceof Dr.V.V.Ghuge
DepartmentofArchitectureandPlanning
VisvesvarayaNationalInstituteofTechnology
Nagpur440010(India)
2022
©VisvesvarayaNationalInstitute of Technology(VNIT)2022
VisvesvarayaNationalInstituteofTechnology,Nagpur
VisvesvarayaNationalInstituteofTechnology,Nagpur
I,ParnaveePathak
,herebydeclarethatthisprojectworktitled Infrastructure”iscarriedout
ArchitectureandPlanningof
VisvesvarayaNationalInstituteofTechnology,Nagpur.Theworkisoriginalandhasnot beensubmittedearlierwholeorinpartfortheawardofanydegree/diplomaatthisorany otherInstitution/University.
,herebydeclarethatthisprojectworktitled“AStudyofCultural carriedoutbymeintheDepartmentofArchitectureandPlanning University.
ParnaveePathak
BA17ARC035
Date:
DepartmentofArchitectureandPlanning
VisvesvarayaNationalInstituteofTechnology,Nagpur
Certificate
This to certify that the project titled “A Study of Cultural Infrastructure”, submitted by Parnavee Pathak in partial fulfillment of the requirements for the award of the degree of Bachelor of Architecture, VNIT Nagpur. The work is comprehensive, completeandfitforfinalevaluation.
Dr.VidyaGhuge
Dept.ofArchitectureandPlanning, VNIT, Nagpur
Dr.AkshayPatil
Head,DepartmentofArchitectureandPlanning, VNIT, Nagpur
Date:
At theoffset,Iwouldlike toquotethefamousJapanesearchitectKenzoTangethat “Architectshaveaspecialdutyandmissiontocontributetothesocio-cultural developmentofarchitectureandurbanplanning”.Thisthoughthasalwaysinspiredme andtheconceptofculturalintegrationwitharchitecturehasdrivenmetochoosemy topicofthesisanddissertation.
ItiswithgreatpleasurethatIexpressmysincerethankstoeveryone whohelpedmein thisarduousjourneyofcompletionofmyfinalyearthesisanddissertation.
Foremost,Iwouldlike tothankmyparents,mysisterandmyfamilyfortheirendless supportandencouragementthroughoutthe5yearsofmygraduation.Iwouldliketo extendmyheartfeltgratitude tomyesteemedguideDr.VidyaGhuge ma’amforguiding mewithhervaluable insightsandgivingtherightdirectiontomyeffortsfor successful completionoftheproject.Iwillbeforevergratefultoherforshowingfaithin mywork.
Iwouldliketoacknowledge andthankallmyfriends,batchmates,seniorsandjuniors formakingthese 5yearsamemorable chapterinmylife.
What makes a good city? Economic opportunity, certainly. Engaging and challenging architecture, maybe. Accessible cultural amenities, almost definitely. But also places where it ispossible to makeconnectionswith otherpeople, evenbepartofa community. Cities are full of intricate and often surprising social networks—networks that help bind peopletogetherand provide important resources intimes of stress. A key dimension of a good city is its collective public character. Citizens only enjoy their cities when they are givenopportunitiestoengagewiththeircities.Culture offersa platformtodo so.Culture activates the lives of communities andisthecore reasonfor existence of communities. It is through interaction that people share their culture and revitalize their cities. Thus this establishes an importance of culture in lives of citizens but often when we speak of development we think of physical infrastructure alone. But how do we make sure that citizens are also having the quality of life they deserve? Is there a certain intervention that can make citizens enjoy their built environments? All these questions form a basis for the research study on Cultural Infrastructure and its need and importance. Thus a lot of aspects relevant to this topic have been explored in the research and will be used as a basisforthesisdesignaswell.
Fig1JanGehlquotesaboutliviablevibrantcities
Fig2Culture:givingcitiesahumanface-Brazil(UNESCO)
Fig3Methodologyfor Dissertation
Fig4CultureanditsAspects
Fig5VariousrolesofCultureinSustainable Development
Fig6MythsandCounterNarrativesaboutCulturebaseddevelopment
Fig7Cultureanditsmultipleroles
Fig8SocialInfrastructureasperURDPFIGuidelines
Fig9StateofCulturalInfrastructureinIndia
Fig10ChallengesandWayForward
Fig11ContributionsofCulturalInfrastructure
Fig12PlansandPolicies
Fig13SelectionCriteria
Fig14AnalysisCritera
Fig15CaseStudies-CulturalInfrastructure
Fig16CaseStudyMatrix
1.INTRODUCTION
2.SYNOPSIS
2.2
2.3Aim
2.4Objectives
2.5Scope
2.6Limitations
2.7Methodology
3.CULTURE,ITSROLE&IMPACTINURBANDEVELOPMENT
3.1
3.2.
4.CULTURALINFRASTRUCTURE
4.1Definition
4.2PublicRealmasCulturalInfrastructure
4.3Significance-Relevance-ImpactofCulturalInfrastructure
4.4ThestateofCulturalInfrastructureandCultureinContemporaryIndia
4.5ContributionsofCulturalInfrastructure
5.PLANS-POLICIES-PROGRAMMESFOR
6.LITERATURESTUDY
6.1Selection&Analysiscriteria
6.4TheCentrePompidou
7.DESIGNLEARNINGS
8.CONCLUSION
Culturalmattersareintegralpartsoftheliveswelead.Ifdevelopmentcanbeseenas enhancementofourlivingstandards,theneffortsgearedtodevelopmentcanhardly ignoretheworldofculture.”AMARTYASEN
developmentasaphysicalaspectonly.Development
theylookingforsomethingbeyondatphysical erallgrowthtoo.Thusanotheraspectofsustainablegrowth longwithotheraspects,creatinglivableandvibrantholistic
Inurbancontext,weoftenperceivedevelopmentasaphysicalaspectonly.Development Butwhenlookedatfromacitizen’spointofview,isthistheonlydevelopmentheis hopingforinhis/hercity?Aretheylookingforsomethingbeyondatphysical Foracitytogrow,itscitizenstooneedtogrow.Theyneedopportunities citiesinordertobenefititsoverallgrowthtoo.Thusanotheraspectofsust asmentionedbyUnitedNationsintheirAgenda21,isCultural infrastructureisdevelopedalongwithotheraspects,creatinglivableandvibrantholistic
Inurbancontext,weoftenperceive ofphysicalinfrastructureisdeemedtobetheonlyparameterforjudgmentprimafacie Butwhenlookedatfromacitize hopingforinhis/hercity?Are infrastructure?Foracitytogrow,itscitizenstooneedtogrow.Theyneedopportunities andaspirationstogrowinthecity.Theyneedtogetattachedandengagedwiththeir citiesinordertobenefititsov ofcitiesintheworldasmentionedbyUnitedNationsintheirAgenda21,isCultural development.Citiesandcitizensgrowsimultaneouslywhencultureandsupporting infrastructureisdevelopeda citiesinworld.
Fig1JanGehlquotesaboutliviablevibrantcities
Fig2Culture:givingcitiesahumanface
In last decade, due to a major change in political power in this country and a development in planning techniques, our cities have seen drastic changes in infrastructure growth. Development of Highways, special economic zones, metro lines, transit stations, residential infrastructure and so much more is seen over a decade and to be fair is needed for a country like ours. But if we look at this situation from a citizen’s pointof view(microlevel), doesthiskindof developmentengagea citizenwithhis city? How does a citizen enjoy and interact with his own city? What facilitates this kind of interaction? Is there a different kind of infrastructure that facilitates this dialogue betweenthecitizensandtheircity?
When we talk about holistic development of our cities, we often overlook socio-cultural developmentinthisprocess. Howeverforsustainablegrowthof thecityanditscitizensa need to include culture and related aspects of a community development is felt. When citizens engage with their city through a cultural dialogue, a more cohesive and developed society is created. Thus a need to explore and identify the Infrastructure and other facilities that will enhance sustainable growth of cities is felt. For the same, a need to studyCulturalInfrastructureisidentifiedandwillbeexploredinthedissertation.
TostudyCulturalinfrastructureinurbansetupsofIndia andaroundthe world.
• To understand the Relevance, Significance and Impact of Cultural Infrastructure in variousurbansetupsaround Indiaandthe worldthroughvariousexamples.
• To formulate inferences from various examples of cultural infrastructure through casestudiesandobtainassorted,relevantpointersfordesignprocess.
• To explore efforts taken for development of Cultural Infrastructure and programs and policies by various government authorities to develop cultural infrastructure in variouscountriesincludingIndia.
• The study also extends to understanding what role does culture and cultural activitiesplayindevelopmentof citiesanditscitizens.
• Understanding cultural infrastructure and its impact through literature and examples.
• It also extends to understand what role Cultural Infrastructure has in sustainable developmentofcities.
• Compilation of activities and spaces that come under this typology of infrastructurethroughunderstandingexamples.
• The studyonlylimits to literature based analysis of culturalfacilities in India and aroundtheworldthroughfactsandexamplesandonlinecasestudies.
• Thesaidtypologyofinfrastructurewillonlybestudiedinurbanareas.
Please turnovertonextpage.
Cultureisthesymbolsandknowledgeofaparticulargroupofpeople,including language,religion,food,socialnorms,musicandart.Inadditionitcanbedescribedas sharedpatternsofbehaviorandinteraction,cognitivedevelopmentandsociallearning. Cultureisanumbrellatermthatcombinessocialbehaviorwiththenormsfoundin humansocieties,aswellastheknowledge,beliefs,art,laws,customs,skills,and practicesofeachindividualinthesegroups.Peopleacquireaculturethroughlearning processesofreproductionandsocialization,reflectingculturaldiversityinallsocieties. Basicallycultureisthebackboneofthecommunity,thecitizensandthecityasawhole.
Cultureisimperativetohumanimprovement.Cultureisthefabricforthedynamic creationofindividualandcollectiveidentities.Theactiveparticipationofhumansin localculturalactivities(inclusiveofpoetry,dance,sculpture,theatre,tune,andsoon.) improvestheirqualityoflifestyleandwell-beingandenhanceslifepossibilitiesand optionscreatingvibrantdynamiccities.
Cultureisthekeyinthesuccessofsustainabledevelopmentpolicies,asdriverand enablerofdevelopmentandpeople-centeredsocieties.Aholisticandintegratedapproach todevelopmentneedstotakecreativity,heritage,knowledgeanddiversityintoaccount. Thusitcanbeunderstoodthatwithoutculture,thereisnofutureforcities.Citiesneed vitality,meaning,identityandinnovation,andcitizensneedtowidentheirfreedoms.
Example1:ForinstancethevibrantBrazilianCarnivalhasgainedinternationalstatus foritsdisplayoflocalculture.Thisculturalaspectisavitaldrivingforcebehindits economicgrowthandidentitycreation.
Source:Agenda21byUN,UnitedCitiesandLocalGovernments
TheBrazilianCarnival-exampleofhowculturehelpsdevelopidentity foranation
Fig5VariousrolesofCultureinSustainableDevelopment
Citiesuselocalculturalresourcesandcreativitytoinspire,catalyze,anddrivesocialand economicchange,enhancinglocalresiliencyanddevelopmentpotential.Culturalactions andexpressionscanalsocatalyzeenvironmentalreclamationprocessesandinspire actionstoimproveenvironmentalhealthandenhancesocialconnectionswiththe ecosystemsoflocalplaces.Culturalactivitiesandmeansforexpressioncontributeto buildingcapacitiesneededtoachievegreaterunderstandingandtogenerate transformativechangeinbothurbanandruralenvironments.Culturalresourcesand institutionswithinaregionvarywiththescaleofurbanareas.Large,majorcultural institutionsareusuallylocatedinmajorcitieswithsmalleroneslocatedinsmallertowns. Citiesalsohaveaconcentrationofcultureindustries,aswellasofproducersand consumersofculturalgoodsandservices.Culturalservicesandmarketlinkages,aswell asthedegreeofdiversity,arealsodifferentforlargemetropolitancentersincomparison withsmalltowns.Inaglobalizingworld,theimportanceofadistinctiveurbanidentity anddevelopmentisheightenedasawaytocounterrapidhomogenization.Cultureis usedasaleverandcatalystforeconomicdevelopmentandurbanregeneration,to articulatesharedidentityandasasourceofnewideas,andiswidelyrecognizedasakey aspectofqualityoflifeandwell-beingofcitizens.
Example2:ThisculturallysignificanteventinIndiahashelpedestablishaprototypefor KineticUrbanismandTemporalUrbanisminthecountry.Thuscultureformsabasisfor newurbandevelopmentsthatchangethefaceofsmallcitylikeVaranasi.
Example3:AnexperimentinTacticalUrbanism,thiseventbecameavitaleventforthe smallcityofAguedathatbringsincrowdsandpromoteslocalartandcultureontothe streets.
KumbhMela-ThisIndianreligiousfestivalturnedaculturalevent intocreatingKineticcitiestosupportthis
BurningManFestival-CreatingaHyperrealCityatNevada
Example4:BurningManisaneventfocusedoncommunity,art,self-expression,and self-relianceheldannuallyinthewesternUnitedStates.Thisshowcasesanattemptat newurbanpatternsonasmallerscaletosupportfusionartandculture.
Canada,SpaceforLife-Briningenvironment-cultureandinfrastructuretogether
Example5:SpaceforLifebringsthecity’sBiodome,Insectarium,BotanicalGarden, andPlanetariumtogether,transformingthemintoamajorintegrativeandparticipatory spacededicatedtotherelationsbetweenhumankindandnature.Thisshowsaunique blendofintangiblecultureandinfrastructure.
CherryBlossomFestival-traditionandurbanspacemakingblend
Example6:TheNationalcherryblossomfestivalatJapan,hasbecomeaworliwde phenomenon.Multipleurbanspacemakingtacticsareseenaturbanparksand plantationsinthecityattractingtouristsallovertheworld,boostingeconomyandurban impacttoo.
Culturallyinformedurbandevelopmentcaninspiremoreparticipatory culturesprovideknowledgeaboutourexistenceasinhabitantsofourcitiesandas citizensoftheworld.Weallneedtolearnaboutthepastofourcity,sothatwecan “own”itandpropelthisidentityandlocalknowledgeintothefuture.Loca allowcitizenstogainownershipofthecity,andtomeetandlearnfromoneanother short,cultureisameansthroughwhichcitizensfeeltheybelongtotheircity.In particular,aculturallysensitiveandgenderedapproachcanempowerma individualsandcommunitiestoparticipateinculturalandpoliticallife.
Culturallyinformedurbandevelopmentcaninspiremoreparticipatoryprocesses: “own”itandpropelthisidentityandlocalknowledgeintothefuture.Localcultures allowcitizenstogainownershipofthecity,andtomeetandlearnfromoneanother–in particular,aculturallysensitiveandgenderedapproachcanempowermarginalized individualsandcommunitiestoparticipateinculturalandpoliticallife.Thecultural culturalactivitieslargely -humanizesbuilt
sustainabilityofthecitiesinwhichitislocated.Cultureandculturalactivitieslargely createasenseofunityanddynamismwithinurbanspaces.Culturerehasavitalroleinwhatmakesacitylivelyandvibrant.Buttheeconomic,political,and
developmentisstilltoooftenmisunderstoodorundervalued,orseenasanoptionalextra
sectorofacitycontributesinavarietyofwaystopromotingthelivability,vitalityand sustainabilityofthecitiesinwhichitislocated.Cultureand createasenseofunityanddynamismwithinurbanspaces.Culturere environmentsandmakestheuserengagedandattachedtoanenvironment.Culturethus hasavitalroleinwhatmakesacitylivelyandvibrant. socialdimensionsofdevelopmenthaveallbeenacknowledgedand,toagreaterorlesser extent,understoodbytheinternationalcommunity.Incontrast,theculturaldimensionof developmentisstilltoooftenmisunderstood tobeaddedwhenthehardworkof‘real’developmentisdone.
Fig6MythsandCounterNarrativesaboutCulturebaseddevelopment
Fig6MythsandCounterNarrativesaboutCulturebaseddevelopment
Source:Agenda21byUN,UnitedCitiesandLocalGovernments
Source:Agenda21byUN,UnitedCitiesandLocalGovernments
Followingfigureshows,howculturehelpsinmultipleaspectsofdevelopmentincities foraholisticgrowth.
ingfigureshows,howculturehelpsinmultipleaspectsofdevelopmentincities
Source:Agenda21byUN,UnitedCitiesandLocalGovernments
Source:Agenda21byUN,UnitedCitiesandLocalGovernments
Fig7Cultureanditsmultipleroles
Cultureiswhatunderscorestheidentityofthecityandstrengthenslocalidentitiesandthe collectiveidentityofacitybringingtogetherpeoplefromvariousbackgrounds.Itis supportedbyitsownurbaninfrastructurefacilities.CulturalInfrastructuremeanthe buildings,structuresandplaceswherecultureisConsumedorProduced.
Consumed:Placeswherecultureisexperienced,participatedin,showcased,exhibitedor sold.Forexample,museums,galleries,theatres,cinemas,libraries,musicvenuesand historicculturalsites.
Produced:Placesofcreativeproduction,wherecreativeworkismade,usuallybyartists, performers,makers,manufacturersordigitalprocesses.Forexamplecreative workspaces,performingartsrehearsalspaces,musicrecordingstudios,filmand televisionstudiosandindustrialandlightindustrialunitsusedbycreativeandcultural businesses.
Therangeofculturalinfrastructureisrichandsothedefinitionincludesthefullrangeof premisesandplacesthatreflecttheinterestsandneedsofcitizens.However,ifcultureis definedascommunitiesandidentity,theunderstandingofculturalinfrastructureneedsto bewidened.Forexamplethepublicrealmisequallyasimportantasthebuildingin developingcultureandnurturingcommunities.Streetsandsquares,plazas,publicspaces arebackgroundforeverydayculturalactivityaswellasformaleventsorganizedby
Consumption&ProductionofCulture-CulturalInfrastructurecommunitiessuchasmusic,art,sport.ThusthesespacesalsocomeunderCultural Infrastructure.
PublicRealmsasbackgroundforculture-CulturalInfrastructure
Fig8SocialInfrastructureasperURDPFIGuidelines
a) Infrastructure as representation of the system and program of the city: Cultural Infrastructure affects social integration, accessibility, and inclusiveness Infrastructure has often been believed to reflect how the city creates its system and manages its citizens. Citizens need to have a sense of belonging to their cities, creating a sense of ownership and reflecting their culture onto their cities. It is often overlooked that apart from sustaining due to primary infrastructure citizens do need infrastructure that engages them with their cities. This establishes the impact of culture in urban set ups in turn establishing need for Cultural Infrastructure in urban spaces too. Citizens do need that kind of infrastructure to thrive in well developed, connected and smart cities too, to sustain.
Example: The Bridge Under the Han River Film Festival at Seoul, adapts it physical infrastructureintoaculturalspacetobringpeopletogetherforafilmfestival. Thisshows howcitizensconnecttoitscityanditsinfrastructureinformallytocelebrateculture.
b) Understanding Relevance through Absence: Interestingly, we only acknowledge the existence of infrastructure when it is broken. For example, we do not always realize the significance of communication cables or pipes underground in our dailylife but we onlyacknowledge their existence when they
malfunction and thereby cause disaster, conflicts, and disconnections. This lack of acknowledgment is also partly attributed to the characteristic of infrastructure as public goods; the infrastructure is not owned privately and this lack of private possessionmakesitdifficultforpeopletoformpersonalattachmenttoit.Cultural infrastructure establishes a personal connect with citizens due to its activity and always establishesits presence. Howeverwhena city lacks this facility, theytend to become bland mixture of multiple identities and fails to bring citizens together and lacks a clear city-citizen dialogue. Thus the presence of Cultural Infrastructurehasrelevance ineverycity.
c) Sustainable Urban Development and Significance of Cultural Infrastructure: Urban design and infrastructure must have cultural relevance and resonance both in design i.e. we must be able to “see ourselves” in the city’s public space and in use i.e., the city’s public space and infrastructure must support diverse residents to engage in cultural practices and expression in the public space of the city. Cultural infrastructure can develop participatory spaces for public dialogue, iterative steering, and local manage. This kind of infrastructure helps in promoting overall growth of city and its citizens. A sustainable and holistic development can take place. Thus this infrastructure plays a significant role in the same throughoutworld. Itcreates vibrantcitiesand wellbeingofitscitizensisensured.
4.4.1 The state of Indian Culture: Indian culture is a world recognized phenomenon. India asa whole has significant culturalcapital inthe formof 37 WorldHeritage Sites2, two gigantic film industries (in addition tomanysmallerones), anda diverseand vibrant cultural heritage. Some Tier 1 and Tier 2 cities are working on creating unique identities for themselves. In comparison to global cultural powerhouses, Indian cities are yet to realizetheirfullculturalpotential. Successfultranslationofartandcultureintoeconomic growth(experiencedbytheworldcities)isapromisingopportunity.
4.4.2ChallengesindevelopmentofCulture&CultureInfrastructure:Totruly unleashthepotentialoftheIndianArtandCulturesector,itisimperativetogaina holisticunderstandingofthelandscape,includingthecurrentchallenges.
TheIndianartandculturelandscapeisrichinculturalcapitalbutsignificantlylacksin buildingandmaintainingculturalinfrastructure.Thispolicyshouldalsoensure developmentofsupportinginfrastructurewhichdrivestheseculturalspaces.The prevailingfocusareaofculturalinstitutionsaroundthecountryismerelyonprotection, revitalizationandpromotionofculturalheritage,butthedevelopmentofnewcultural assetsismissingintheframework.Unlikesocialinfrastructuresuchasschoolsand hospitalsthataredevelopedbasedonpopulationnumbers,asimilaryardstickisyetto evolvetodeveloppubliclibraries,artgalleries,museumsandculturalcenters.
Source:TransformingUrbanIndia2018,PWC-CII
Inordertodevelopstrongsustainableculturalidentities,Indian significantsteps.Citiesneedtoputinplaceculturalzonesandworkactivelyon developingtheiruniqueculturalidentity.Thiscanbeachievedbyinvestingininitiatives suchasplacemaking–amulti publicspaces.
Inordertodevelopstrongsustainableculturalidentities,Indiancitiesneedtotake amulti-facetedapproachforplanning,designingandmanaging
citiesneedtotake designingandmanaging
Source:
Source:TransformingUrbanIndia2018,PWC-CII
Fig9StateofCulturalInfrastructureinIndia StateofCulturalInfrastructureinIndia Fig10ChallengesandWayForwardSource:Agenda21byUN,UnitedCitiesandLocalGovernments
5.1MinistryofCulture,India
LikePhysicalinfrastructure,CulturalInfrastructurealsooperatesonvariouspoliciesand plansbyvariousurbanlocalbodiesandgovernmentauthorities.
PROGRAMMESFORCULTURAL nandconservationofour nactiveanddynamic.The
“Cultureplaysanimportantroleinthedevelopmentagendaofanynation.Acountryas diverseasIndiaissymbolizedbythepluralityofitsculture.ThemandateoftheMinistry ofCulturerevolvesaroundthefunctionslikepreservatio culturalheritageandpromotionofallformsofartandculture,bothtangibleand intangible.TheMinistry’staskistodevelopandsustainwaysandmeansthroughwhich thecreativeandaestheticsensibilitiesofthepeopleremai functionalspectrumofthisMinistryiswide,rangingfromgeneratingculturalawareness atgrassrootsleveltopromotingculturalexchangesatinternationallevel.”
ofCulturerevolvesaroundthefunctionslikepreservationandconservationofour thecreativeandaestheticsensibilitiesofthepeopleremainactiveanddynamic.The
Fig12PlansandPolicies
5.1.1SchemeofFinancialAssistanceforCreationofCulturalInfrastructureby MinistryofCultureofIndia:
Performingartspacesandalliedculturalactivities.
5.1.2MuseumGrantScheme:
FinancialAssistanceforCreationofCulturalInfrastructureby purposeculturalcenters(MPCC), useummovementacrossthe umsandtrainingofmuseums
FinancialAssistanceforCreationofCulturalInfrastructureby ForcreationofMulti-purposeculturalcenters(MPCC), Thestrengtheningofthemuseummovementacrossthe ofexistingmuseums,digitizationofartobjectsinthemuseumsandtrainingofmuseums
countryisanimportantactivitycoveredunderthescopeoftheMinistryofCulture. Financialassistancewillbegivenfortheestablishmentofnewmuseums,development ofexistingmuseums,digitizationofartobjectsinthemuse professionalsofmuseumsmanagedbyCentral/StateGovernments,Societies,
societiesAct.Thebroadrangewillinclude(a)museumshavingcollectionsof objectsinanyoralloftheabovedisciplinesand(c)ThemebasedMuseums(d)Virtual
Autonomousbodies,localbodies,AcademicInstitutionsandTrustsregisteredunderthe societiesAct.Thebroadrangewillinclude(a)museumshavingcoll Antiquities,Numismatics,Paintings,Ethnologicalcollections,Folkartandothers includingArt&Crafts,Textiles,Stampsetc.(b)OnlineVirtualMuseumsdisplaying objectsinanyoralloftheabovedisciplinesand(c)ThemebasedMuseums(d) ExperientialMuseums(VEM)(e)ProjectsofNationalImportance
5.1.3SchemeforPromotionofCultureofScience(SPOCS): promoteeducationalandscientificinstitutionsandparksunderMinistryofCulture
5.1.4Schemefor“Safeg
uardingtheIntangibleCulturalHeritageandDiverse
5.1.4Schemefor“SafeguardingtheIntangibleCulturalHeritageandDiverse
CulturalTraditionsofIndia”:
HridayProgrammeFor12HistoricCitiesHeritageCityDevelopment &AugmentationYojanaMinistryofUrbanDevelopmentGovernmentofIndia, Schemeshallsupportdevelopmentofcoreheritageinfrastructure
5.1.5India–HridayProgrammeFor12HistoricCitiesHeritageCityDevelopment &AugmentationYojanaMinistryofUrbanDevelopmentGovernmentofIndia, 2015:TheSchemeshallsupportdevelopmentofcore projectsincludingrevitalizationoflinkedurbaninfrastructureforheritageassetssuchas monuments,Ghats,templesetc.alongwithrevivingcertainintangibleassets.
5.2TheInternationalFundforCulturalDiversity(IFCD)
5.2TheInternationa
Itspurposeistopromotesustainabledevelopmentandpovertyreductionindeveloping namicculturalsector,primarilythroughactivities
Itspurposeistopromotesustainabledevelopmentandpovertyreduction countriesthatarePartiestothe2005Convention.Itdoesthisthroughsupporttoprojects thataimtofostertheemergenceofady facilitatingtheintroductionand/orelaborationofpoliciesandstrategiesthatprotectand promotethediversityofculturalexpressionsaswellasthereinforcementofinstitutional
thataimtofostertheemergenceofadynamicculturalsector,primarilythroughactivities
infrastructuressupportingviableculturalindustries.Since2010,theIFCDhasprovided morethanUS$9.4millioninfundingfor129projectsin65developingcountries, coveringawiderangeofareas,fromthedevelopmentandimplementationofcultural policies,tocapacity-buildingofculturalentrepreneurs,mappingofculturalindustries andthecreationofnewculturalindustrybusinessmodels.
5.3CulturalInfrastructurePlan,London
“Continuedgrowthinthecapitalhasputpressureonourinfrastructure―onhousing mostobviously,butalsoonourculturalinfrastructure.“-DeputyMayorforCultureand theCreativeIndustries.TheCulturalInfrastructurePlanisanactionplanwhichsetsout howLondoncansupportandgrowculturalspacesinLondonforgenerationstocome.
5.4WesternAustralianCulturalInfrastructureFramework2030The WACulturalInfrastructureMapidentifiesexistingculturalandcreativespacesacross theState.Thearts,cultureandcreativeindustriesdiversifyoureconomyandimprovethe livabilityofWesternAustralia.Culturalinfrastructureisoftennotconsideredessential socialinfrastructure.Thetimetochangethismindsetisnowisthemottoofthe framework.
6.1SelectionandAnalysisCriteriaforCaseStudy:Thesestudiesaimat understandingtheimpactandrelevanceofculturalinfrastructureinIndiaaswellasthe world.Thesestudieswillalsoexplorearchitecturalcharactersoftheinfrastructure.
Fig14AnalysisCriteria
Fig15CaseStudies-CulturalInfrastructure
About Architects:JørnUtzon,
JørnUtzon,PeterHall
Constructionstarted:
Constructionstarted:2March1959
Architecturalstyles:
Founded:20October1973
Capacity:5,738
architecture
Architecturalstyles:Modernarchitecture,Expressionistarchitecture and120m(394ft)wideatitswidestpoint.
Thebuildingcovers1.8hectares(4.4acres)oflandandis183m(600ft)long
Area:Thebuildingcovers1.8hectares(4.4acres)oflandandis183m(600ft)long and120m(394ft)wideatitswidestpoint.
Typology:PerformingArtsCentre
ArchitecturalFeatures
a.DesignFeatures:
s:Developedasapartofdesigncompetitionforamulti
performingartsspaceconsistingofconcerthallandoperatheatre,
Developedasapartofdesigncompetitionforamulti-venue performingartsspaceconsistingofconcerthallandoperatheatre,thebuildingis
6.2SydneyOperaHouse,Sydney,Australia. 1.Design Features Fig1made up by two very distinctive elements; a solid base and a series of light, organicallyshapedroofs.
The base consists of all the service areas, including dressing rooms, rehearsal areas, warehouses, offices and library. It is broken with stands for concert hall and opera and has multiple steps that emerge onto multiple levels within building. The other part of the building, the roofs, are made by a series of triangular shells supported on their corners and facing upwards as if challenging the laws of physics. These shells cover the three main spaces, the opera theater, the concert theater and the restaurant. Each of these spaces is covered by four pairs of shells, except for the restaurant which only has two pair. The street side of the building opens up to a monumental staircase as wide as building. The three main building that inhabit the podium are the concert hall, the opera house and the restaurant, however there whole complex counts with five theaters, five rehearsalstudios,twomain rooms,fourrestaurants,sixbarsandnumerousgiftshops.
b. Structural Innovation: It was in 1961 when the team found a solution that would solve most of their problems. They came up with the idea to build the shells out of the sections of a sphere. The sphere is the simplest threedimensional curve and there for was relatively easy to work with since the angle ofitscurvatureremainsthesameatanygivenpoint.
The project development was divided into three stages. First came the basepodium building, then the roof shells and last the windows and interiors. The most prominent features, consisted of a ribbed system of precast concrete shells coveredinceramictiles.Everyshellissupportedbyverticalmullionandvaults.
Thestructureofthebuildingismadefromreinforcedconcreteandthefacadesfrom polarizedglasswithsteelframes.Theshellsarecoveredbywhiteandcream matetiles madeinSweden,althoughfromadistancetheyalllookwhite totheeye.Intheinteriors thepredominantmaterialsarepinkgranitebroughtfromTaranaandplywoodfromNew SouthWales.
a. Sociability:Otherthanthebuildingitself,theforegroundthatisthe100mwide monumentalstepsonthestreetedgeformahuge spaceforuserstositandenjoy outdoorevents.Furtheroutdooreateriesandrestaurantsbythebay,forman importantsociabilityaspectof thecomplexitself.Itiswelcomingandinteractive evenduringnighttimebeingonthestreetandwateredge.
b.UsesandActivities: concertspaces,outdoorfood toarichinculturepublicspaceforpeopleallovertheworld.
Indoorconcerthall,Operatheatre,restaurant,outdoor concertspaces,outdoorfoodcourtbythebay,alloftheseactivitiescontributes
c.AccessandLinkage: itsuniquenessbutstandsoutandthewaterbodyforms structure.
Locatedatendoflanditisselectivelyaccessibledepicting itsuniquenessbutstandsoutandthewaterbodyformsahugeforegroundforthe
d.ComfortandImage: anditsuniqueness.Theshellsadddynamismtostructuremadtheepodiumadds gravity.Usersfeelrelaxedandwelcomedinthepresenceofthe
Thewhiteshellsbesidesthesea,createabeautifulimage
Indoorconcerthall,Operatheatre,restaurant,outdoor courtbythebay,alloftheseactivitiescontributes ahugeforegroundforthe gravity.Usersfeelrelaxedandwelcomedinthepresenceofthelargerthsnlife
built mass due to the design and structural innovation. Brilliant lighting is showcasedontheshellsatnighttimeaddingtovibrancy.
The Sydney Opera House constitutes a masterpiece of 20th century architecture. Its significance is based on its unparalleled design and construction. The Sydney Opera House was included in the National Heritage List in 2005 and was considered as 8th wonder of world at a point. The fact that a cultural infrastructure can create such global appeal and impact establishes the importance of this infrastructure typology and its extent to which it helps in creating an identity for an entire nation is staggering.
Thedistinctioninactivitiesinthebasebuilding
Roofsystemanditscomplexitieshasaestheticalvalue
Themonumentalstepsleadinguptothepodiumlevelactasatransitional spaceandoutdooreventsarecelebratedonthesteps.
About
Architects:RajRewal,MahendraRaj
Area: 150 acres-It and has 18 halls, 22 permanent pavilions, covered space of 130,000squaremetersandanopenareaof180,000squaremeters.
Typology:Exhibitioncentre
Architectural Features
DesignFeatures:ThelayoutofthePermanentExhibitionComplexdemarcatesthe HallofNationsasavastsquareinplanwitheightopeningsofpivotedsteelgates accessedbystaircasesandramps,underwhich,facilitieshavebeeninserted.The mainpavilionofthe HallofNationshasaclearspanof78metresandaheight varyingfrom threemetresto21metres,therebyprovidingavastcapacityforitemsto beexhibited,frombookstobulldozers.
ThedepthofthestructuralsystemwasutilizedasaSunbreakerandconceivedofin termsofthetraditional'jali',ageometricalpatternofperforationthatservestoobstruct directraysoftheharshSunwhilepermittingaircirculation.Theplanofthesepavilions issquarewithchamferedcorners,providingeightanchoringpoints.Thecornerswere inspiredbythetombofMoghulEmperorHumayun
,andtheTajMahal.IntheHallof etheheightvariesfrom3mto30m.
Nations,anuninterruptedvolumeisachievedwher Thispermitsthedisplayofsuchdiverseobjectslikeaircraft,earthmovingequipment, tractors,andcranes.IntheHallofIndustries,theheightvariesfrom2.5mto15m.The squareplanadoptedpermitsadditionalu
traditional'jali',ageometricalpatternofperforationthatservestoobstruct inspiredbythetombofMoghulEmperorHumayun1,andtheTajMahal.IntheHallof Nations,anuninterruptedvolumeisachievedwheretheheightvariesfrom3mto30m. squareplanadoptedpermitsadditionalunitstobeaddedasneeded.
a. StructuralInnovation:Knownfor itsstructuralinnovationthroughconcrete wasoneofakindstructure inIndiaandworldtoo.Anoctahedronmodule forminga spaceframestructurewasmademeticulouslyoutofjointsinsteel, precastconcreteandin-situconcreteundersupervisionofengineerMahendra Raj.
Raj’s careful conceptualization of the stages of construction helped reduce efforts and costs as the entire structure was not supported with scaffolding till the roof. Based on extensive analysis, a detailed construction sequence was established. A system of scaffolding would support the structure till level 5, one level above all the desired openings in the lower levels. After level 5, the structure itself supports additional construction load, freeing the ground space. With each successive level, four different configurations of structure were envisaged and analyzed for all possible loading conditions before the final building was completed. During construction, however, despite simultaneousconstruction onall sides, the rate ofprogress was notthe same; one
side was up to the sixth level and another to the fourth. This was a new structure not envisaged or analyzed before. At this stage, after more analytical work, the scaffolding was removedas the structurewasfoundto be self-supporting. Thechoice ofshape and form of the structural system was driven by its potential versatility: it contains an enclosure with a column-free main hall of 6700 sq.m, and four smaller halls adding an additional 7500 sq.m, under its roof structure. The Hall of Nations consists of units of a 4.9m x 4.9m base and 3.5m height which form the 73m x 73mpyramid, truncatedattheheightof30mwitharoofspanof39mx39m.
The Halls of Industries are four 18m-high pyramids of 40m x 40m base, with truncated roofs of 22m x 22m, made of units that are 2.6m high and 3.6m x 3.6m at the base. The configuration of both these basic pyramids is such that all members of the square base and the four triangular sides have the same length, finally allowing the same building slope and the angle of this basic unit at 54°44’8”.
a. Sociability: The whole site is a mix of pyramids, terraces, steps and landscape elements. These spaces gave multiple pockets to socialize and interact and relax within the complex. It became a popular public space amongst youngsters to gather and hangout back in the day. The halls hosted multiple fairs and cultural eventsthatmadeagreatspaceforgatheringsandevents.
b. Uses and Activities: Permanent exhibition halls, pavilions, book fairs, air force exhibitions, cultural events, food expos, handicraft expos, the versatility of the halls could host from book fairs to bulldozer expos. The scalability was a large factorforitsmulti-utility.Theopenspaceswerethegatheringinteractivespace.
c. Access & Linkage: The entire exhibition complex/site is flanked by roads on all its sides. On its West is the Mathura Road that practicallyconnects the North and South and leads to the Asian Highway 44 which runs through Chandigarh in the North to Faridabad in the South. The intersection of major roads Connecting N-S
andE-WliestotheNorthofthesite.Thisintersectionisusuallyheavily trafficked.Thusaverywellconnectedspaceincity.Multipleconnectionthrough roadsandmetrosmakesthe infrastructure.
d.ComfortandImage:
WliestotheNorthofthesite.Thisintersectionisusuallyheavily roadsandmetrosmakesthesiteaprimelocationforitskindofcultural Despitetheheavyconcreteelements,thebuiltmasslooks stoodoutintheskylineofmodernDelhi,creatinganurban&modern
ratherporusandinnovativereducingitsoverpoweringsize.Theentirespace stoodoutintheskylineofmodernD architecturalinterventioninIndia.
ImpactofCulturalInfrastructure:RiseandFall
siteaprimelocationforitskindofcultural elhi,creatinganurban&modern fifthyearasanindependentcountry,andbothPragatiMaidan relianceandprogress.Thetrinityof HallofNations,HallofIndustries,andtheNehruPavilion—soon gsneededtoberazedandreplacedbymore“state-of-the-art”
ArchitectRajRewalandstructuralengineerMahendraRaj,alongwiththeirteam, madeIndiaproudbyconstructingthefirstandlargestconcretespatialstructureof thattime,thePragatiMaidan,whichwasinauguratedin1972.Theyear1972also dia’stwenty-fifthyearasanindependentcountry,andbothPragatiMaidan andthefairitopenedshowcasedIndia’sself-relianceandprogress.
ArchitectRajRewalandstructuralengineerMahendraRaj,alongwiththeirteam, madeIndiaproudbyconstructingthefirstandlargestconcretespatialstructureof thattime,thePragatiMaidan,whichwasinauguratedin1972.Theyear1972also markedIndia’stwenty
andthefairitopenedshowcasedIndia’sself buildings—HallofNations,HallofIndustries,andtheNehruPavilion becameapartofacademicsinarchitectureinstitutionsacrosstheworld.In2012,the IndianTradePromotionOrganizationclaimedthePragatiMaidanwasnotsufficient fororganizingfairs,andexhibitionsofinternationalstandardsandthattheoldand dilapidatedbuildingsneededtoberazedandreplacedbymore“state constructions.ThefalloftheHallswasfinalizedinApril2017,whentheDelhiHigh
HallofNations,HallofIndustries,andtheNehruPavilion cademicsinarchitectureinstitutionsacrosstheworld.In2012,the IndianTradePromotionOrganizationclaimedthePragatiMaidanwasnotsufficient fororganizingfairs,andexhibitionsofinternationalstandardsandthattheoldand gsneededtoberazedandreplacedbymore“state constructions.ThefalloftheHallswasfinalizedinApril2017,whentheDelhiHigh
Court rejected the petition filed by architect Raj Rewal as well as INTACH ( Indian National Trust for Art and Cultural Heritage) to prevent the proposed demolitions. The pulling down of an important icon of Delhi’s heritage and the secretive manner in which the demolitionwas executed was met with widespread criticism. This reflected a broken attitude of India towards cultural infrastructure and iconic architecture.
Modulardesign ofspacesgave spacetovarietyofeventsandscopeof activitiesimproved
Structuralinterventionforclimatecontrol
Blend of built-unbuilt and terraces and steps creating multiple spaces for interaction.
Architects:RichardRogers,RenzoPiano
Year:1977
Area:80,900sqft
Typology:CulturalCentre
Architectural Features
a. DesignFeatures:Theskeletonitself engulfsthebuildingfromitsexterior, showingallofthedifferent mechanicalandstructuresystemsnotonlysothat theycouldbeunderstoodbutalsotomaximizetheinteriorspacewithout interruptions. Thedifferentsystemsontheexteriorofthe buildingarepainted differentcolorstodistinguishtheirdifferentroles.One ofthe"movement" elementsthatthecenterismostknownforistheescalator(paintedredonthe bottom)onthe westfacade, atubethatzigzagsuptothetopof the buildingprovidingvisitorswithanastonishingviewofthecityof Paris.
Thestructureandlargestventilationcomponentswerepaintedwhite,stairsandelevator structureswerepaintedasilvergray,ventilationwaspaintedblue,plumbingandfire controlpipingpaintedgreen elevatormotorroomsandshafts,or building,arepaintedred.
b.StructuralInnovation: Pompidoucontainssix
orange,andthe allowformovementthroughoutthe
Thebuildingis madepossibleby
controlpipingpaintedgreen,theelectricalelementsareyellowand roomsandshafts,ortheelementsthatallowformovementthroughoutthe DescribedbyPianoasa"bigurbantoy",Centre containssix-storeysoflargecolumn-freespaces.Thebuildingis designedsothattheinternalspacescanbeeasilyrearranged–madepossibleby
designedsothattheinternalspacescanbeeasilyrearranged placingthebuildingservices,corridors,elevatorsandstructuralmembersonits exterior.Positionedonbot
trussessupportingthefloorstothecolumns,helpingtocreatethelargeinternal spans.Thesestandoutfromaminimalcurtainwallbackdropmadefromsteel andamixofglazedandsolidmetalpane feelingofatransparentbuildingenvelope.
hsidesofthebuilding,thesegerberettesconnectlarge lsthatweredesignedtocreatethe Visitorstravelfromthegroundlevel
upagiantdiagonalescalator,onthefacadefacingthesquare,toexternal corridorsandviewingplatforms.Thesewalkwaysandescalators createadynamicever
exterior.Positionedonbothsidesofthebuilding,thesegerberettesconnectlarge andamixofglazedandsolidmetalpanelsthatweredesignedtocreatethe feelingofatransparentbuildingenvelope.Visitorstravelfromthegroundlevel createadynamicever-changingfacade.
corridorsandviewingplatforms.Thesewalkwaysandescalatorsaredesignedto
a.Sociability:AkeycomponentofRogersandPiano'sproposalwasthatthe buildingwouldonlyoccupy becomingapublicsqu
buildingwouldonlyoccupyhalfofthesitewiththeotherhalfofthesite becomingapublicsquare.
halfofthesitewiththeotherhalfofthesite
b.AccessandLinkage: heritageculturalinfrastructuresofthecity,thecentreiswelllinkedtomain streetsopeningintoaplaza.
Locatedinsurroundingsofmostpopularandimportant streetsopeningintoaplaza.
Locatedinsurroundingsofmostpopularandimportant
c. UsesandActivites:Themainbuildinghostsavarietyofactivitiesinthebare shellstructuregivingflexibility.Thepublicspaceisusedforoutdoorurban eventsandbecomesanimportantpartofdesignprogramme.
d. ComfortandImage: Theinside outaestheticandlightweightgalssskinofthe buildingsgivesita pop-industriallookmakingiteverdynamic. The huge foreground establishedbyplazaformsanimportantspaceforuserstositand relaxandenjoyviewsofthemulticolouredbuilding
Thewholeideaofhavinganinsideoutbuildingwastocreate huge spacewithinthe buildingtoaccommodatetheeverchangingculture.Theycreatedabuildingthatwas flexibleforeverything. Thebuildingitselfgavewayforapublicplazaonhalfofthe site.Thispieceofinfrastructurewasa democraticallyappreciatedpieceof architecture.Itsopennessandflexibilityiswhatmakesiteverlastingandwillalways remainstateoftheart.
Largefloorplatestoaccommodatemultipleusesintheculturalcentre
Halfofthesiteleftforpublic plaza
Visualconnectionofoutdoorandindoor
Expressiveandbluntfaçade
Cleardepictionofservicesandinteriors.
About
Architect:FrankGehry
Architecturalstyles:Deconstructivism,Contemporaryarchitecture,Expressionist
Height:57m
Founded: 18October1997,Bilbao,Spain
Typology:ModernandContemporaryArt Museum
Architectural Features
a. Design Features: The inventory of incredulous elements in this piece of architecture is vast as it encapsulates so much, from art to technique, from aesthetics to functionality, and from traditional to dramatic expression. Overall the buildings present 24,290m2 of space, upon which 10,560m2 is reserved for exhibitions over three floors interconnected by glass elevators and suspended walkways. Through the museums natural components Gehry interconnects the
visitors experience with the outdoors through such features as the large glass wallsandtitaniumelementswhich reflects that ofthe scales ofa fish. Theoverall structure appears to alter throughout time due to the manner in which matter is focused upon the heterogeneous topography without distorting the aesthetical distance,alludingtomovement,growthanddynamism.
The large, light-filled atrium serves as the organizing center of the museum, distributing 11,000 square meters of exhibition space over nineteen galleries. Ten of these galleries follow a classic orthogonal plan that can be identified from the exterior by a limestone finish. The remaining nine galleries are identified from the outside by swirling organic forms clad in titanium. The largest gallery is 30 meters
wide and 130 meters long and houses a permanent installation called ”The Matter of Time“by RichardSerra
b. Structural Innovation: The building‘s walls and ceilings are load-bearing, containing an internal structure of metal rods that form grids with triangles. CATIA calculated the number of bars required in each location, as well as the bars‘ positions and orientations. In addition to this structure, the walls and ceilings has several insulatinglayers and an outer coatingof titanium Each piece isexclusivetoitslocation,determinedbytheCATIAsoftware.
Arrivingvisitorscrossoverconcealed railroadtracksanddescendthrougha broadsteppedlimestoneplazapassing fromaslendernotchintoasoaring165footatrium.Acomplexandsomewhat chaoticinterior,thistwistingglass-andsteelvolumecombinesirregularly-shaped limestoneandplasterwalls,glazed elevatorshafts,andvertigo-inducing catwalks.
a.Sociability:Beingapartofurbanrenewalprogram,thismuseum’ssociability aspectislargelydependentonitsaccessandlinkagewiththecity.Itformsa commongroundforthecitytocelebrateculture.Withinthebuilding, interconnectingbridgeandterracesbytheriveractasopengatheringspaces.
b.Access&Linkage:Theriversidesiteisonthenorthernedgeofthecitycenter. Aroadandrailwaylineistothesouth,therivertothenorth,andtheconcrete structureoftheSalveBridgetotheeast.Makingatangiblephysicalconnection withthecity,thebuildingcirculatesandextrudesaroundtheSalveBridge, createsacurvedriversidepromenade,andformsagenerousnewpublicplazaon thesouthsideofthesitewherethecitygridends.
c.ComfortandImage:TheGuggenheimMuseumlocatedinBilbaoSpain presentsanexpressionistmoderniststylewithinanurbancontext,ofatemperate
climate. Designed by Frank Gehry, this art museum originally opened on the 19 October 1997, portraying a curvilinear free form sculpture, constructed upon a steel frame covered by titanium sheathing. Movement, growth and dynamism are showcased.
The socio-economic impact of the museum has been astounding. During the first three years of operation, almost 4 million tourists visited the museum—generating about 500 million in profit. Furthermore, the money visitors spent on hotels, restaurants, shops and transport collected over 100 million in taxes, which more than offset the cost of the building. However, the promise of the ”Bilbao Effect“ also sparked a building boom in "statement"architectureacrosstheglobe,onewhichprovedimprudentinthewakeofthe recent economic crisis. Nevertheless, the Museum remains an iconic structure renowned foritscomplexityandform.
Inferences
Structuralinnovationwasthecoreattractionofthemuseum.
The curvilinear juxtapostioning of spaces creates a dramatic, chaotic spatial environment.
AccessandLinkageplayavitalroleforthedesign.
Design principles of contrast, hierarchy movement, growth etc have been incorporatedtocreatea unifiedeffect
Materialselectionsplayavitalrole.
Architects:Mecanoo
Area:95000m²
Year: 2011Start-2019Opened
Architectural Features
a. Design Features: Spatial Innovation- Urban Connector: Sitting on a long and narrow 3.8 ha site with strict height restrictions, the building connects the surrounding areas by subdividing the programme into separate volumes. The passages between these buildings, which align with the adjacent roads, provide access from the new business district on the west side of the building to the park ontheeast.
b. Structural Innovation: a. The volumes all have curved edges and tilting facades, which frame dynamic views, shelter public squares and naturally guide pedestrianflows. Thefluid formsalso channelaircurrents andprovide protection against the sun and rain inShenzhen’s subtropical climate. By sharing the same formal language, height, and material, the volumes form a visually cohesive wholewithoutanapparentfrontor backfacade.
b- Sculptural interior. The in-situ concrete structure was carefully designed to become part of the visitors’ experience; wandering through the building is like viewing a cast concrete sculpture from the inside. The structural facade of each volume integrates beams, columns and massive concrete cores, resulting in a building where everything is revealed. The full-height tilted interior spaces at the edges of the volumes become architectural highlights where the visitor can experiencetheimpressive scaleoftheconstructionelements.
a. Sociability: The building connects the surrounding areas by subdividing the programme into separate volumes creating voids in between The passages between these buildings, which align with the adjacent roads, provide access from the new business district on the west side of the building to the park on the
east. This forms common grounds for people to interact. Further a common public space is designed within the site. The varied programme offers multiple interactivespaceswithinthebuilding.
b. AccessandLinkage: The site sitsata crucialjunctionbetweeneasterndistrict to CBD,formingacruciallinkageforallusersactingasanUrbanConnector.
c. Uses and Activities: A varied design programme offers a lot to every user group of anyage. TheLonggangCulturalCentre hasfourmainprogrammatic elements: anartmuseum,ayouthcentre,asciencecentre,andabookmall.
d. Comfort and Image: A horizontally spread built mass forms a connection and merges into skyline forminga base forthe CBD, metaphorically and literallytoo. The bright red panels make it look like a pop art and urban intervention in a perfect location. The voids and cuts lets users enjoy human scale activities and viewsofcity.
Shenzhen has been growing rapidly since being named a ‘special economic zone’ in 1980. High-rise structures have transformed the city’s skyline as its population has grown to over 12 million. Located in the city’s eastern Longgang district, the Cultural Centre contributes a rich and varied cultural programme housed in an iconic urban connector. The infrastructure metaphorically and literally connects two urban districts through its design, site location and a design programme for youth of the city. Thus impactsthecity’sgrowth inallaspectssupportingsustainabledevelopmentinShenzhen.
UrbanconnectoraddstotheuniquenesstourbandevelopmentofShenzhen
Themulti-faceteddesignprogrammehelpsattractallusergroupsofallagesin thecity.
Thebuiltmassslantstocreateshadeshadoweffectandprotectsfromraintoo formingaframeofreference.
Characteristics of Culture: These characters are reflected in the core idea of design of cultural hub i.e. should be Learnt, Shared, Social, Continuous, Adaptive,andVaried.
SignificanceofCulturalInfrastructure-Needforsustainabledevelopment: This section brought into the light, the visible absence or lack of Cultural Infrastructure in Nagpur and how important an intervention like a cultural hub can prove in Nagpur. Thus this section of the report justifies the thesis topic selection,designingaculturalhubinNagpur.
CulturalInfrastructure’surbanimpact:SiteSelection-
1. This section leads to site justification and how the cultural infrastructure should be located at an impactful location such that it doesn’t act as a standalone architectural intervention but draws in-crowd and creates a holistic impact on an urban level as well. Thus the site selection at Civil lines amidst multiple civic institutes was aimed at the creation of a socio-cultural corridor on an urban scale thus the Cultural Infrastructure becomes a unique representation of a CulturalDemocraticspace. ThusaCulturalHubandnotjustacenter.
CulturalInfrastructurecharacteristicsandurbanimpact:Design Impact-
1. The conscious decision of designing a cultural center that doubles up as a public plaza was understood through various examples and case studies. A standalone center might not attract an urban crowd as much as a plaza-like space might. It allows them to interact with each other and engage with the built environment freely,creatinganinterdependentculture-infrastructure-citizenbond.
2. How the infrastructure resonates with its context and need was learned through the impact of Cultural Infrastructure in cities it had significance in. Thus the thesis design largely resonates with the civic context the site sits in. The symmetry, central plaza, foreground-background narrative, and façade’s impact are the primary features that resonate with context and also cater to the need and purposeofaculturalhub.
Typology and activities: This information through case studies and data helped incraftingaflexibleandwidedesignprogram.
The purpose of the research was to understand the impact of culture and cultural infrastructure. Through various data and examples, it was understood that this typology of infrastructure development plays a bigger role in development of communities than physicalinfrastructurecan. Thistype of developmentenrichescitiesanddevelopsa bond betweencity anditscitizens whichis the basic requirement forholistic developmentof a city. Both culture and Cultural infrastructure have various roles to play in urban developmentandhelpcitizensenjoyvibrantanddynamicenvironmentswithinthecity.
Further the impact significance and relevance of Cultural infrastructure was understood and the state of Indian cultural infrastructure was explored too. This gives aninsightinto how India should put in use its abundant cultural resources to develop good socioculturalaswellaseconomicaldevelopmentforitscitizenstoenjoy,learnandadaptto.
In summary of the literature review, it is understood that cultural infrastructures across world aren’t just stand alone architectural interventions but add value to economy, identity and so many other aspects of the cities they are situated in. Every cultural infrastructure created should offer cultural vibrancy and create a space for people to come together and interact. The physical attributes of this infrastructure is a response toi context or is based on architectural expressions. This helps it create an identity for itself andthe regiontoo.
Finally it is understood through the research that culture and cultural infrastructure are vital additions to cities. Their presence creates an impact and absence only makes cities bland mixture of multiple identities that don’t add up to anything. Cultural infrastructure energizes and activates the public and creates a platform for communities to come togetherandcelebrateculture.
- Culture 21: Agenda 21 for Culture- Why must culture be at the heart of sustainable urban development?-UCLG
https://www.agenda21culture.net/
- Transforming Urban India: Art and Culture to play a pivotal role PWC AND CII
2018
https://www.pwc.in/assets/pdfs/publications/2018/transforming-urbanindia.pdf
- Art Insights: Cultural hubs How to create a multidimensional experience UK
https://bigbangartfund-assets.s3.eu-west-2.amazonaws.com/downloads/artinsights-cultural-hubs.pdf
- Cultural Infrastructure Plan A CALL TO ACTION, Mayor of London
https://www.london.gov.uk/sites/default/files/cultural_infrastructure_plan_online. pdf
- Investment in cultural infrastructure, UNESCO
https://en.unesco.org/creativity/policy-monitoring-platform/investment-cultural
- Schemes- Ministry of Culture, Government of India
https://www.indiaculture.nic.in/schemes
- Western Australian Cultural Infrastructure Map
https://www.dlgsc.wa.gov.au/culture-and-the-arts/western-australian-culturalinfrastructure-map
- Social infrastructure and the public life of cities: Studying urban sociality and public spacesJack Layton 2019
https://compass.onlinelibrary.wiley.com/doi/full/10.1111/gec3.12444
- The Social Life of Infrastructure Jeongwon Gim 2018
https://www.spaceandculture.com/2018/01/08/the-social-life-of-infrastructure-3/
- Lack of cultural and social infrastructure affects Mumbai's Liveability Index, Times of India
http://timesofindia.indiatimes.com/articleshow/71031565.cms?utm_source=conte
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